Se 


ARCHITECTURE 


The person charging this material is re- 
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Latest Date stamped below. 


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are reasons for disciplinary action and may 
result in dismissal from the University. 


UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN 
UN 9 1976 

er WX 

AUG 5 19/6 


L161— O0-1096 


PAUL MANSHIP 


A CRITICAL ESSAY ON HIS SCULPTURE 
AND AN ICONOGRAPHY 


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PAUL MANSHIP 


A CRITICAL ESSAY ON HIS SCULPTURE 


AND AN ICONOGRAPHY 
BY 


A. E. GALLATIN 


WITH EIGHT ILLUSTRATIONS 


¢ 


NEW YORK 
JOHN LANE COMPANY 
MDCCCCXVII 


COPYRIGHT, 1917, BY A. E.GALLATIN 


PLATES 


[ GROUPED AT THE END ] 
DUCK GIRL 
LITTLE BROTHER 
PAULINE 
GROUP OF epirs 
DANCER AND GAZELLES 
THE FLIGHT OF NIGHT 


MANSHIP EXHIBITION 
Bar Harbour, Maine, 1916 


MANSHIP EXHIBITION 
Bar Harbour, Maine, 1916 


THE COPYRIGHT IN THESE PHOTOGRAPHS 
IS RESERVED BY MR. MANSHIP 


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PAUL MANSHIP 


HE discerning frequenter of exhibitions of 

modern sculpture, especially in New York, 
for the past few years has noted and admired 
the occasional contributions of Paul Manship. 
Too often in these exhibitions the trained eye 
saw for the most part only varying degrees of 
academic perfection and resulting lifelessness, 
lack of creative power, of originality, or of style. 
Occasionally promise of future achievement was 
indicated in some bronze or marble, but with 
very few exceptions this was all. In Mr. Man- 
ship’s work, however, one was always face to 
face with actual accomplishment. 

The first ‘one man” exhibition of Mr. Man- 
ship’s sculpture, which was held in New York 
late in the winter of 1916, created a veritable 
sensation among the larger public interested in 
artistic achievement. The extreme modernists 
and the academicians united in paying a tribute 
to his genius: his success was complete. 


f2] 

‘This success was repeated the following sum- 
mer at Bar Harbour, Maine, where a represen- 
tative group of twenty-six bronzes by this gifted 
artist was shown. The exhibition was held in the 
Print Room of the Jesup Memorial Library from 
August 14 to September 2, and was visited by 
2860 people, which is believed to be a record at- 
tendance for a town of this size. It was installed 
by Mr. Edward Robinson, Director of the Met- 
ropolitan Museum of Art. Particularly effective 
was the placing of the Sundial— Time and Hours, 
the larger Briseis, and the Dancer and Gazelles: 
these were put on gray stands before a back- 
ground of small pine trees. 


Mr. Manship is an American. He was born in 
St. Paul, Minnesota, in 1886, and here it was that 
he began his studies, afterward pursuing them 
in New York and Philadelphia. In 1909 he won 
the scholarship offered by the American Acad- 
emy at Rome, and went to Europe, where he 
remained three years. Since then he has made 


[3 J 
New York his home; his studio at present is 
located in the recently artistically transformed 
Washington Mews, situated just north of Wash- 
ington Square. 

Arrived in Italy, Mr. Manship at first studied 
the work of Michelangelo and Donatello; inspi- 
ration he also found in Hellenic art—the purest 
of all fountain heads. The art of India, but not 
its grotesque or fantastic side, later on also pro- 
foundly influenced him.» 

Mr. Manship is a striking example of Sir 
Joshua Reynolds’s assertion, contained in one of 
his Discourses, that ‘‘the more extensive your ac- 
quaintance is with the works of those who have 
excelled, the more extensive will be your power 
of invention.’\ His mind has acted as a crucible, 
into which various influences have been poured. 
Mr. Manship has found his inspiration now in 
the works of the great Greek sculptors, now in 
_the creative period of Indian art, now in the ra- 
diant and glorious art of the Italian Renaissance ; 
but always these arts have inspired him to cre- 


ba ae 

ate, not to produce lifeless and icy interpreta- 
tions) as was the case with such artists as Canova, 
Thorvaldsen, and Flaxman| rhe pseudo-classi- 
cism and borrowed Hellenism—mere echoes— 
possess nothing of the fire and vigour one always 
finds in a work by Manship} 

The artist’s portrait bust of his baby daugh- 
ter, Pauline,—she is seen set in a niche, in a 


coloured architectural framework ,—reflects his 
enthusiasm for the art of the Italian Renaissance. 
The infant is as closely studied, as masterfully 
modeled, and as full of life as those of Dona- 
tello, of Rossellino, and of Andrea Della Robbia, 
although of course not possessing, owing to its 
extreme youth (she was only three weeks old), 
their cherubic beauty. Mrs. Schuyler Van Rens- 
selaer, it may be noted, has written a charming 
essay on this little masterpiece; she is right in 
terming it a vital work of art (vide Scribner’s 
Magazine, December, 1916). The influence of 
this period is also seen in Manship’s medals— 


eee 
a branch of art in which he excels, His superbly 
designed medals entitled Jeanne d’Arc, St. Paul 
Institute, The Civic Forum, and Amoris Trium- 
phus rank with the most notable achievements 
of modern times in this direction. They serve . 
well to illustrate the artist’s great sense of deco- 
ration, his style, his taste.’ 

Mr. Manship’s debt to Greece may be traced 
in such pieces as the Centaur and Dryad, the Bri- 
seis, the Infant Hercules fountain, made for the 
courtyard of the American Academy at Rome, 
the Lyric Muse, and the Little Brother. One 
should note the beautiful patina on these works, 
a quality common, indeed, to them all. 

The lessons the artist has learned from In- 
dian art, particularly from Hindu and Buddhist 
sculpture, one perceives in such examples as the 
very graceful Dancer and Gazelles, Sundial— 
Time and Hours, and The Flight of Night.\In 
(these one sees the significance that the Indian 
artist attaches to gesture, as well as the symbol- 


i 
ism of hands. His gazelles and his antelopes pos- 
sess a smoothness and vitality one very rarely 
finds outside of Indian art.) 

Even a casual examination of Mr. Manship’s 
bronzes will suffice to disclose his great rever- 
ence for the classical traditions and his love of 
the antique It was largely this regard for tradi- 
tion, coupled with a modern outlook, that pro- 
duced the art of the Italian Renaissance. Too 
much stress is to-day put upon the virtue of mere 
originality ; generally speaking, every great ar- 
tist has based his art, and every great period of 
art has been based, upon what has gone before. 
When artists break away from, and entirely 
ignore, every tradition, or go back to the art 
of the savage, as a rule they produce only such 
strange objects as have lately been paraded be- 
fore us in the guise of painting and sculpture. 

That Mr. Manship, however, has occasionally 
struck a purely modern note is proved by such 
examples of his work as the Portrait Statuette 
(of a young woman), and the Yawning. The 


pe 7 

latter, which shows a girl seen in the nude, at 
full length, stretching herself and yawning, is 
as modern in feeling and technique as if made 
by Rodin or Paul Troubetzkoy. This statuette, 
it is interesting to note, was made in Rome in 
1912, from the same model as that used for the 
artist’s Lyric Muse. 

One cannot but wish that Mr. Manship, hay- 
ing perfected himself in the technique of his art, 
and learned its traditions, would now strive to 
produce works even more creative and original 
and rather more modern in feeling — works con- 
ceived more in the spirit that prompted the little 
marble bust of his baby daughter and the bril- 
liant sketch entitled Yawning, in both of which 
creations the flesh fairly vibrates! It has been 
truly said that inspired modernity and sympathy 
with the present are really vital to genuine emo- 
tional art. Art must never be a “‘left-over man- 


5] 


nerism of another age;”’ on the contrary, it shall 
be a ‘fsincere expression of the thought and 


aspirations of that period.’’ The truth of this is 


Been 
apparent when we consider the works of any 
sculptor whose work is considered great. How 
particularly true it is of Houdon! 
Early in his career Manship was attracted by 
Rodin, but this influence fortunately was of short 
duration. Rodin is a rock that has shipwrecked 
many young sculptors. He stands with Whistler 
as one of the greatest geniuses of the present 
epoch, but like Whistler he is too individualistic 
to be successfully emulated. Their followers have 
produced but tedious and uninspired work. Ro- 
din’s custom of often leaving a large part of his 
marble in its natural state has done much to as- 
sist in the growth of the present day cult, which 
delights in passing off the mere study or sketch, 
and the unfinished, as a complete work of art, 
as it does also in the short cut. 
| Mr. Manship’s work is characterized by a 
perfection of craftsmanship. He lingers over his 
work with a loving hand, as did the designers 
of the coinage of ancient Greece, the makers of 
Limoges enamel and engraved crystal, as did 


eas. 

Cellini when working with gold and enamel, as 
did the medalists of the Italian Renaissance. 
With a wealth of detail and a finish as exquisite 
as attained by the French eighteenth-century 
maker of snuff-boxes} Mr. Manship’s creations 
at the same time possess great simplicity and a 
perfect ensemble. | 


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WORKS 


1909 
END OF THE DAY: Bronze (statuette), 1 copy. 


1911 


DUCK GIRL: Bronze (life size), 2 copies. 


Fairmount Park, Philadelphia. 
Garden of Herbert Pratt, Glen Cove, New York. 


MARIETTA: Bronze (statuette), 6 copies. 


1912 
SATYR AND SLEEPING NYMPH: Bronze (statuette). 


4 copies. 


LITTLE BROTHER: Bronze (statuette), 15 copies. 
Museum of Art, Detroit. 


LYRIC MUSE: Bronze (statuette), 15 copies. 
Museum of Art, Detroit. 


PLAYFULNESS: Bronze (statuette), 15 copies. 


Museum of Art, Detroit. 
Institute of Aris, Minneapolis. 


YAWNING: Bronze (statuette), 10 copies. 
St. Paul Institute. 


eke 
1913 
PORTRAIT STATUETTE: Bronze, 2 copies. 


COMMEMORATIVE MEDAL: Bronze. 


PEDIMENT GROUP (sketch): Plaster. 


1913-1914 


CENTAUR AND DRYAD: Bronze (statuette), 5 copies. 


Metropolitan Museum of Art, New York. 
Fogg Art Museum, Cambridge. 

Museum of Art, Detroit. 

Smith College Galleries, Northampton, Mass. 
City Art Museum, St. Louis. 


1OU4 
PAULINE: The baby is in marble, the rest of the composition is 
in bronze, coloured, | copy. 


Metropolitan Museum of Art, New York. 
A copy in coloured pilaster was made for the artist. 


SILENUS. THESEUS. ODYSSEUS. CALYPSO. HERA- 
KLES (terminal figures): Plaster models to be carved in marble. 
Harold McCormick, Chicago. i 


CHILDREN WITH GARLANDS: Marble. 
Made for Western Union Building, New York._ 


DRINKING WATER FOUNTAIN: Bronze. 
_ Made for Western Union Building, New York. 


Pos 


FLOOR PLAQUE: Bronze. 
Made for Western Union Building, New York. 


THE ELEMENTS. FOUR PANELS: EARTH, WATER, 
FIRE AND AIR: Bronze. 
Made for Western Union Building, New York. 


MEDAL FOR THE CIVIC FORUM: Gold. 


MEDAL FOR NEW YORK TERCENTENARY CELEBRA- 
TION: Bronze. 


DAVID: Bronze, 3 copies. 


BOY HUNTER (three sketches): Bronze (statuette), 1 copy of 
each. 


MOTHER AND CHILD (sketch): Bronze (statuette), 1 copy. 
MADONNA (sketch): Bronze (statuette), 1 copy. 
MUSIC (sketch): Bronze (statuette), 1 copy. 


VASE (WITH ORIENTAL DANCING FIGURE): Bronze 
(statuette), 8 copies. 
Smith College Galleries, Northampton, Mass. 


INDIAN AND PRONGHORN ANTELOPE (two separate fig- 
ures): Bronze (statuette), 15 copies. 

One set was made in heroic size for. the gardens of Herbert Pratt, 
Glen Cove, New York. 

Pratt Institute, Brooklyn. 

City Art Museum, St. Louis. 

Art Institute, Chicago. 

Smith College Galleries, Northampion, Mass. 


[14 ] 


INFANT HERCULES FOUNTAIN: Bronze (heroic), 2 copies. 


One copy, for which an elaborate granite bowl and pedestal was de- 
signed, is to be placed in the courtyard of the American Academy 
at Rome. The other is owned by the Hon. Alfred and Mrs. Anson. 


TOLD 


SPIRIT OF THE CHASE: Bronze (life size), 1 copy. 
Herbert Pratt, Glen Cove, New York. 


SALOME: Bronze (statuette), 6 copies. 

WRESTLERS (sketch): Bronze (statuette), 6 copies. 
VASE: Bronze, 1 copy. 

CHRIST CRUCIFIED: Gilded bronze (small), 1 copy. 


ANDROMEDA AND THE DRAGON: Bronze (statuette), 


2 copies. 


PORTRAIT MEDAL (BARRY FAULKNER): Bronze, 2 


copies. 


PORTRAIT MEDAL (MAXFIELD PARRISH): Bronze, 
2 coptes. 


PORTRAIT MEDAL (ISIDORE KONTI): Bronze, 2 copies. 


CIVIC SEAL, CITY OF NEW YORK: Bronze. 


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1916 


BRISEIS: Bronze, made in two sizes: 22 inches and 46 inches in 
height; 6 of the former have been cast and 3 of the latter. 


HEAD, FEMALE: Bronze (life size), 1 copy. 
Study for Dancer and Gazelles. 


DANCER AND GAZELLES: Bronze, | copy life size, 12 copies 
34 inches high. 

Art Institute, Chicago. 

Museum of Art, Detroit. 

Fogg Art Museum, Cambridge. 

Museum of Art, Cleveland, Ohio. 


THE FLIGHT OF NIGHT: Bronze (statuette), 20 copies. 
Metropolitan Museum of Art, New York, a loan from A. E. Gallatin. 


SUNDIAL—TIME AND HOURS: Gilded bronze, 10 copies. 
JEANNE D’ARC MEDAL: Bronze. 

ST. PAUL INSTITUTE MEDAL: Bronze. 

INDIAN VASE: Marble (large). 


William Mather, Cleveland, Ohio. 


1915-1918 
J. P. MORGAN MEMORIAL: Tablet in gray stone, aboud 12 


feet high by 5% feet wide. 
Designed for the Metropolitan Museum of Art, New York. 


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UNIVERSITY OF ILLINOIS: 
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OS ONE HUNDRED AND FIFTY COPIES PRINTED BY 
D. B. UPDIKE, THE MERRYMOUNT PRESS, BOSTON 
U.S. A., FEBRUARY, 1917 


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